18th Century Harpsichords

At the beginning of the 18th century, the harpsichord was rapidly changing. Performers and composers pushed the limits of what existing harpsichords could do. Instrument builders responded by constructing larger instruments and adding more keys to expand the instrument’s range and tonal capacity. Some of these harpsichords were highly decorated with elaborate paintings on the soundboards, lids and casings, along with sophisticated woodworking, and gilded moldings. Two harpsichord restored to playing condition are featured on new recordings by Violaine Cochard and Frédérick Haas.

Violaine Cochard: Préludes et autre fantaisies

The harpsichord Violaine Cochard plays is an original single-manual by Johann Daniel Dulcken built around 1740 in Antwerp. It has a range of about five octaves (modern Steinway pianos have over a 7 octave range.) On this instrument, Cochard has recorded favorite bits and pieces from the Bach harpsichord repertoire in a program which comes across to listeners as refreshingly personal.

Frédérick Haas: Goldberg Variations

For many harpsichordists, Bach’s Goldberg Variations are a defining work in the repertoire, and with this recording, Frédérick Haasadds his name to a long list of performers who have given remarkable interpretations of the work. Haas plays a French harpsichord built by Henri Hemsch in 1751. Among other things that distinguish French and German harpsichords, coupling systems and keyboard mechanisms require different kinds of touch and articulation from the player. The liner notes included with this recording put it best: Haas’ role as an interpreter is to make sure that his French harpsichord speaks decent German.

Janelle Davis is a violinist and performer with period instrument ensembles throughout the United States. She is currently a candidate for the Doctor of Music degree from Indiana University, Bloomington where she specializes in early music.

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I love the comment about Haas making sure his instrument speaks good German! As an instrument maker myself I continue to take an interest in the design of harpsichords, sticking my nose into them whenever I have a chance!

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